Interview Sophie Wedgwood by Sian Dolding

Street photography that goes beyond poverty porn

It seems like street photographers are a dime a dozen these days, and with everyone wanting a slice of the curb-side action you better get your story straight. With a trigger-happy, candid quality at its core it can be easy to shoot street-style and lose your message, which is why ex-Dazed bod Sophie Wedgwood's series Hanoi to Havana is a soon-to-blow diamond in the rough. The series, which explores the backstreets and boundary lines of some of the most underpriviliged areas of South America and Asia, has that instinctive essence so unique to street photography that collides with the heady lethargy of Wedgwood's subjects. Taking her cues from the greats like Alex Webb and Jim Goldberg, she injects a powerful social commentary into her work, never trading too hard on the 'poverty porn' card so many street photographers jump at somewhat disingenuously. Still fresh to the game, we've got the scoop on the first in this ongoing series on foreign street cultures.

Fill us in on your photography background? What first made you want to start shooting?

Sophie Wedgwood: I couldn't say when I first started taking photos, but my mum always had old film cameras and disposables lying round the house and I guess I took to it rather intuitively. Then as I got older and began travelling more through Italy and France, I think I was confronted with so much culture and lifestyle that was foreign to me I felt it couldn't go 'unphotographed'.


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